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TANBOONWAH

A PLACE TO STORE MY THOUGHTS…

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A LITERARY CRITIQUE/REVIEW OF ‘ALL THE LIGHT WE CANNOT SEE’ BY
ANTHONY DOERR


While inside prison, I spent 5 days reading this Pulitzer
Prize-winning book which I feel is the best book I have ever read in
my life. I felt so strongly about the novel that it inspired me to
spend 1 whole day (immediately after finishing the book) to write a
book review. To retain fidelity to my original handwritten 2-page
draft that was composed within the span of a day, I am reproducing the
critique below albeit in a typewritten format and chose not to do any
edits to my original draft. Rest assured only the format is different,
no words have been added or removed or changed from my original
handwritten draft, the words are 100% exactly the same. This will more
accurately reflect my lack of a dictionary and internet to google
whether what I spelled or quoted/made reference to is correct or not
and also the time constraint and paper constraint I faced while
writing it (which will explain why my concluding paragraph is cramped
with themes that I can explore further should I choose to, if given
more paper to write on while inside prison).

A Literary Critique/Review of ‘All the Light We Cannot See’ by
Anthony Doerr

“If only life were like a Jules Verne novel, thinks Marie-Laure, and
you could page ahead when you most needed to, and learn what would
happen.” This is the kind of wide doe-eyed innocence and wishful
thinking exemplified by Marie-Laure, one of the two central characters
in this novel. However, in this case, if we were to skip ahead to the
end, we would miss the mesmerizing epic grand scale on which events
unfurl.

“Sublimity is the instant when one thing is about to become
something else.” Anthony Doerr’s second novel – a long ten years
in the making – is the medium through which the author has crossed
the Rubicon, stepped off the precipice, taken a leap of faith via his
unconventional writing and been exalted and elevated to the pantheon
of literary greats much like Jules Verne’s Around the World in
Eighty Days and Twenty Thousand Leagues Under the Sea and Debussy’s
Clair de Lune, all of which feature heavily in this tale. This work
could very well be Doerr’s magnum opus and is a masterpiece in every
sense of the word, hence worthy of the decade-long wait. Doerr’s
epic novel has earned him a well-deserved place among his
aforementioned greatly revered heroes.

The story is set in Germany and France’s Saint-Malo and Paris. It is
however not set in the glamorous belle époque period with its
familiar grand old world charm but instead the stage here is World War
II, itself a character constantly in the background; never far from
our protagonists’ minds.

Like the intricately crafted little model house of Number 4 rue
Vauborel featured in the story, Doerr’s novel intricately weaves the
various timelines between the two main protagonists: Marie-Laure, a
blind young girl and Werner, a smart White-haired boy. Doerr not only
deftly switches perspectives between the two protagonists, he also
successfully juggles two on-going timelines, switching back and forth
between the past and future until the two timelines coalesce. This is
a similar technique employed by British author Jeffrey Archer in his
‘The Fourth Estate’ and to a lesser degree in ‘Kane and Abel’
but Doerr here has outdone his contemporary with more literary finesse
displayed. Doerr’s prose is also lovely and mesmerizing with its
rhythmic pace and never feels superfluous for a second. He writes
beautiful descriptions of the scenes and evokes lively imageries.
Other less skilled peers of his such as author Dan Brown often launch
into long descriptions of sceneries; diatribes that are excessive to
the point of making the writing seem like a travelogue. Doerr
sidesteps this skilfully as all the scene descriptions are essential
from the perspective of his sightless girl whose mood changes the
colour of the depicted scenes; the world is gray and devoid of colours
when she is depressed and only recolourises when her mood lifts. Doerr
smartly maintains suspense readers’ interest and curiosity by
keeping the chapters short – especially in the opening pages of the
book in the first section curiously-named ‘Zero’ – before
switching the narrative and perspective to elsewhere. This results in
mini-cliffhangers that force the readers to keep the pages turning.

Like the old adage made famous by the line in the beloved French
classic, Antoine de Saint-Exupéry’s Le Petit Prince (The Little
Prince): “The essential things in life are seen not with the eyes,
but with the heart”, Doerr’s Pulitzer Prize-winning novel has an
over-arching theme of goodness in people that permeates throughout the
story. This intrinsic human quality is present in many of the
novel’s characters that have performed selfless acts that not only
generates no benefits to themselves but may invite trouble to their
doorsteps. Marie-Laure’s father, Daniel LeBlanc made miniature
models of the city to help his daughter find her way; Etienne
(Marie-Laure’s great-uncle) takes the pair of father and daughter in
despite having no obligations to; Madame Manec engaging in
espionage/spying reconnaissance activities, thereby putting herself in
unneeded danger; and finally Werner who eventually takes the righteous
path of saving the lives of Marie-Laure and her great-uncle, saving
the former several times even. “You must never stop believing” and
“… how to see her is to believe once more that goodness, more than
anything else, is what lasts”; these are words spoken by Madame
Manec and Dr. Geffard to Marie-Laure, underpinning the importance of
believing in goodness and its perpetuality.

Much like an experienced auteur, Doerr never once runs into creative
sclerosis and the characters in the story – every single one of them
– pops out of the pages and are fully fleshed out with their own
moral dilemma and unique personality. From the
gemologist-turned-sergeant major cum primary antagonist von Rumpel who
is obsessed with finding the Sea of Flames but still depicted as
loving his daughters and also being morally upright by keeping his
promise to Marie-Laure to leave after she answered his question; to
Frederick who stood his ground and refused to partake in abusive
bullying tactics despite the prospects of facing punishment himself;
and to Marie-Laure’s papa who presents an optimistic and hopeful
front to his daughter despite feeling despair within himself. These
are not one-dimensional characters and there are no traces of
stereotypes or tropes. Do not be fooled by the naivety of ingénue
Marie-Laure, she displays admirable beyond-her-years grit and
tenacity. Volkheimer though a giant, is friendly towards Werner. He
even goes through a redemption when he asks Werner to take his rifle
and presumably save Marie-Laure. Redemption is also another theme in
this novel. Werner undergoes a similar redemption arc – after
indirectly causing the death of the red-haired little girl – by
sparing and also saving the lives of Marie-Laure and Etienne through
both hiding of knowledge and taking direct action.

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Even inanimate objects like the Sea of Flames at the central of the
story are infused with life and vigour through Doerr’s prose. It is
no mere MacGuffin inserted into the narrative out of frivolity. The
Sea of Flames is akin to the heart of the story both figuratively and
literally as it plays an essential role around which the plot’s
events revolve around and is a cut multi-faceted diamond with a flame
within it. Other items like the numerous shells that pique and held
Marie-Laure’s interest, highlights Doerr’s knowledge in mollusks.
The shells have spirals which are like mazes. This leads to the next
theme which is the inter-connectedness of people like in a maze or
universal network. Werner and Marie-Laure are first connected through
vast space and distance by radio waves through the radio broadcasts of
Marie-Laure’s grandfather, Henri who is known to Werner and his
younger sister Jutta as ‘The Professor’. When Marie-Laure and
Werner first talked, Werner mentioned Clair de Lune to her to bridge
an immediate closeness to her. The invisible electromagnetic waves
form a network connecting people and souls all across the universe.
The inter-connectivity of people also sets off chain reactions from
Marie-Laure’s actions of bravery leading to a reaction in Werner
changing and being brave by taking charge of his actions. This is
evidenced by the conversation between them: ‘“When I lost my
sight, Werner, people said I was brave. When my father left, people
said I was brave. But it is not bravery, I have no choice. I wake up
and live my life. Don’t you do the same?” and Werner replies
“Not in years. But today. Today maybe I did.”’ The above
exchange also highlights two other important themes: the inevitability
of life and extraordinariness in ordinary acts. Light is also an
important character by itself, personified by its ubiquitous presence
throughout the novel. It is described in vivid details and appears as
various forms including electromagnetic waves (EM waves) and radio
waves which as aforementioned plays an essential role of connectivity
especially between the two main protagonists. The book’s title
‘All the Light We Cannot See’ refers directly to the concept that
light is actually invisible. Visible light is colour but “the
electromagnetic spectrum runs to zero in one direction and infinity in
the other, so really, … mathematically, all of light is invisible”
the novel explains so, since the visible part of EM waves or light is
insignificant and a small portion minority compared to the larger
portion majority of invisible EM waves or light. The persistence of
souls is also explored. EM waves abound all around us in our daily
lives, sunlight filtering through trees, in the air, through radio,
through a field light, even in different less recognisable forms such
as in the form of coal as explained by the novel that a plant captures
light and then decays into the soil and buried under for millions of
years before eventually forming into a coal. Souls from the departed
can similarly transform and be found in this ‘light we cannot see’
and travel and persist all around us for all of eternity. Hence the
novel’s title also alludes to the souls of our departed loved ones
existing around us. The owl appearing to Frederick near the novel’s
end and a simple wind could all be a soul taking different forms; the
former owl could be Werner visiting his friend after he died. The
radio and mollusks (shells) are all complex systems, intricate
networks and are small pieces in a universe; mazes unto themselves.
From souls, religious themes are also explored such as when
Marie-Laure asks whether blind people will see the face of God. The
Sea of Flames is the physical manifestation and embodiment of the
theme and question of science versus faith; logic versus superstition.
Does it really have powers to protect its owner? Is it really cursed
and causing bad things to befall on people around its owner? Doerr
leaves these questions unanswered and is certain in the diamond’s
ambiguity. After all, Marie-Laure who was its owner did not die and
got out of life-threatening seemingly impossible situations while
others around her died such as her beloved father, Madame Manec and
even Werner when he died, he did not have the tear-shaped stone with
him.

The concept and theme of purity is also explored. Doerr postulates
that purity of any form – be it racial purity or political purity
– can never be achieved. Since the moment we are born, we are under
constant corruption from the environment and world around us,
including the very air that enters our bodies and hence the body can
never be pure; we can never be completely rid of impurities. Doerr
likens this to how the “entropy of a closed system never
decreases.” Permanent order can never be formed, there will always
be disorder and chaos; impurities are natural.

Doerr’s words transform the intangible into tangible such as when
Marie-Laure’s reading of Braille becomes blurred when she is feeling
distracted. In reality words in Braille books can’t possibly distort
or blur. Her distraction caused by anxiety leads to the blurring in
her reading. Doerr’s mastery of the language also shines through
such as when he uses an oxymoron ‘beautiful ugly’ or ‘belle
laide’ when Werner describes Marie-Laure’s eyes or when he uses
vivid metaphors like “… it’s like reaching into a sack full of
cotton and finding a razor blade inside” when Werner hears talking
on the radio after months of static and “It’s as if the city has
become a library of books in an unknown language, the houses great
shelves of illegible volumes, the lamps all extinguished.” Doerr
raises thought-provoking notions through questions such as “The
brain is locked in total darkness, … inside the skull, never in the
light. And yet the world it constructs in the mind is full of light.
It brims with colour and light. So how, does the brain, which lives
without a spark of light, build for us a world full of light?” He
also pays immaculate attention to details, a quality that shows
through his prose. These are all displays of his proficiency as a
master wordsmith. Doerr also references literary greats such as Jules
Verne and ingeniously incorporates elements from his predecessor’s
into his narrative. Professor Aronnax from Twenty Thousand Leagues
Under the Sea works in the same National Museum of Natural History as
Marie-Laure’s father; Captain Nemo’s experiences are in tandem
parallel to those of the novel’s characters.

Human resilience, overcoming adversity and phobia such as Etienne’s
agoraphobia and the trauma and devastation caused by war are all
themes explored in Doerr’s novel. Even at the novel’s end, Doerr
is unconventional by unexpectedly having the male protagonist, Werner
be killed. Long after the last word is read, Doerr’s characters
linger long in the reader’s mind. Every other book read after this
novel pales in comparison as Doerr’s story continues to reverberate
and also illuminate and shine a light of hope and optimism through our
lives’ dark periods for eternal perpetuality like all the light we
cannot see in the story.

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all the light we
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SO THIS IS WHERE IT ALL BEGINS…


I have created this blog to store my thoughts and to organise my
writings for easy retrieval and reading. They contain mostly film
reviews. There are also some music reviews, book reviews, food reviews
and poems.
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PARASITE

Korean film Parasite is really good No wonder it won the Palm
d’Or at this year’s 2019 Cannes Film Festival and has a 100%
rating on Rotten Tomatoes. Those two facts alone mean that you should
go watch it.

I’ll just say it is a very enjoyable and entertaining cinema
experience. The film features some very interesting and sudden jarring
tonal shifts from one scene to another. From what I read online, it
seems to be a common characteristic among the director’s works.
It’s a nice film from a virtuoso director whom you can tell is at
the top of his game. I briefly looked through the director, Bong
Joon-ho’s other works and it seems all of them have very high
reviews, maintaining at least 80+% on Rotten Tomatoes, none of them
falling below that. And since his immediate preceding film before this
was also nominated for the Palm d’Or, I would think that his high
standards seep through all his films, not just this one. Given that he
wrote this original script as well, I think his mind is certainly full
of unconventional ideas as when you watch this film, it just keeps
surprising you in what direction the story is going to go. The concept
of this film is definitely wholly original, I think if this does
successfully get the academy’s attention, it should be nominated for
a Best Original Screenplay in addition to a Best Foreign Film. Of
course a Best Director is justifiable but that would be hard given
that this is a non-English language film.
July 18, 2019
tanboonwah
Bong Joon-ho
, Cannes
, Cannes Film Festival
,
봉준호
,
기생충
,
film , film review
, FilmReview
, Gisaengchung
, kisaengch'ung
, Palme d'Or
, Parasite
, review
, 奉俊昊
,
寄生蟲

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SCISSORS SISTERS – NIGHT WORK


In my opinion, Night Work released by Scissors Sisters way back in
2010 still remains the no. 1 best pop album for me. The album’s so
perfect and although I do listen to their other albums, I don’t
particularly like them. But Night Work’s a whole other story, every
track on it fits so well except for the first single, Fire with Fire,
which ironically is the only actual mainstream-radio-friendly track.
But that track itself is too commercial trying for my liking, it may
suit other bands (like Coldplay) and other albums better. It just
doesn’t sound like them. If I’m the album producer, I would get
rid of this track from the album. Yes it’s catchy but it’s too
jarring against the tone of all the other tracks on the album.

Take me anyway you like it
In front of the fireplace
In front of your yacht
In front of my parents
I don’t give a damn baby, just take me
June 25, 2019
tanboonwah
album
, album review
, music
, Music Review
, Night Work
, review
, Scissors Sisters
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ELTON JOHN, TARON EGERTON – (I’M GONNA) LOVE ME AGAIN


Personally, I think this song is very much in the vein of Elton’s
musical outputs in recent years, in particular the music at the start
sounds like that from ‘Across the River Thames’ which was the only
bonus and last track on ‘The Captain & The Kid’ album. So nothing
surprising or revolutionary about this song in Elton’s catalogue.
But still, I hope this gets nominated for a Best Original Song at the
academy awards because I don’t have much hope that the film’s
gonna get much other nominations (as despite being a good film, it
doesn’t seem to be getting the needed box office receipts or
generating enough word-of-mouth), and getting a song nomination at
least would bring some attention to the film.

June 25, 2019
tanboonwah
egerton
, Elton
, Elton John
, film
, film review
, John
, music
, Music Review
, review
, Rocketman
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PADDINGTON 2


Finished watching Paddington 2. OMG it’s such a good film. No wonder
it still holds Rotten Tomatoes’ record, with an approval rating of
100% and 229 positive reviews, the most reviewed film to hold a 100%
rating. Other previously 100% rated films like Lady Bird, Shaun the
Sheep Movie had gone down to 99% (or in The Lego Movie’s case, gone
down to 95%) but Paddington 2 still stands at 100% since its release
in 2017. The whole film is so good, from the opening scene right to
the very end, and even the end credits scene of Hugh Grant performing
Rain on the Roof musical-style in prison. I would think that end
credits scene deserve a full-screen treatment rather than just playing
in a small window while credits roll past; it’s so goddamn pretty,
the pink palette, the umbrellas, the synchronised dancing and music,
all very MGM musical style. Paddington 2 has to be the best film
I’ve watched.
June 23, 2019
tanboonwah
Aunt Lucy
, bear
, Brown
, film
, film review
, Paddington
, Paddington 2
, Paddington Bear
, Paddington
Brown , Paul
King , Peru
, review
, Uncle Pastuzo
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ROCKETMAN

Got to watch Rocketman, the biographical musical film based on the
life of Elton John (and also produced by his own Rocket Pictures) on
sunday night, I believe the film’s first day of release in
Singapore. The film’s really good but I think given that I watched
it in Singapore, it probably already is a cut censored version. And
this despite the fact that it’s given a R21 rating here just because
it depicts gay sex. In any case, the film’s still way better and
much more coherent than Bohemian Rhasody, which by the way is also
directed by the same director, Dexter Fletcher (after Bryan Singer
left that film).

There are some points I would like to criticise on. Iconic
performances like the Donald Duck suit at Central Park was left out.
They included the dodgers stadium concert but it was just a short
glimpse of him entering and standing on stage. I think even a CGI
image of the crowd/audience would have been good for the awe of it.

Also, I felt the ending was too abrupt. There was no focus on his
actual husband (David Furnish) or how they met, since the movie covers
only mostly up till the 1980s. And there was no mention of the 1997
Princess Diana’s death and his record breaking Candle in the Wind
single or the performance itself at Princess Diana’s funeral which
was watched by the entire world. Elton’s career didn’t actually
stop in the 80s, in fact it went on to greater heights in the 90s,
00s, 10s.

And I think they got lazy towards the end. They inserted an actual
music video for a song into the show LOL. Just replacing Elton
John’s face with Taron Egerton’s face. It’s as if towards the
end, the movie lost all the crazy good momentum it had built up to
that point.

In any case, the song that gave me the most goosebumps was still Tiny
Dancer. It’s set to a scene even more effective than its iconic use
in Cameron Crowe’s Almost Famous film. Despite Taron’s falsettos
being nowhere even near to Elton’s original, thereby detracting from
the enjoyment of the scene a little, it is still a scene brim full of
emotion.

The other song that stood out in the movie was definitely Your Song
which of course remains Elton’s most closely associated song.

I also like that they had scenes set for Don’t Let the Sun Go Down
on Me (which many still do not know it’s originally by Elton John
and not George Michael) and also Border Song, an often neglected early
classic.

However, classic songs like Can You Feel The Love Tonight and Circle
of Life are probably left out of the film due to Disney’s copyright
and also that these all take place in the 90s rather than the film’s
period of up till the 80s. This is why I feel that a biopic of Elton
John with only his life up till the 80s is not enough, as it’s after
that in the 90s and onwards where his career reach new heights.

An important song in Elton’s life which was left out of the film was
Someone Saved My Life Tonight. Bernie Taupin had afterall written
lyrics for the song because of Elton’s suicide attempts which were
portrayed in the film too. They could have included the song in the
underwater swimming pool scene instead of a reprisal of Rocketman.

Also, when Bernie Taupin had gone away for a break and Elton said that
he would work with other lyricists, they could have featured the song
Little Jeannie which was one of the rare few big hits that Elton wrote
with someone else other than Bernie.

Another thing I took issue with was the movie’s portrayal of Elton
John taking the John name from John Lennon when in fact, it was from
Long John Baldry who was part of his Bluesology band, along with Elton
Dean whom Elton John took the Elton name from.

Notwithstanding these above points, Rocketman is still a really great
movie. Hope it wins awards especially for Taron Egerton who put up a
convincing portrayal of Elton John and also for the director for
creating such a wonderful piece of work. I need a Rocketman 2 where it
continues Elton John’s life after where this film prematurely ended.

#Rocketman #EltonJohn #Elton #FilmReview #Review
June 23, 2019
tanboonwah
biographical
, biography
, Dexter Fletcher
, Elton
, Elton John
, film
, film review
, John
, musical
, review
, Rocketman
, Taron Egerton
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陳綺貞 – 沙發海 MUSIC REVIEW


搭地鐵回家時,剛好能忙裡偷閒,便放了陳綺貞「沙發海」專輯來聽。全碟11首歌才歷時41分鐘,剛好能在途中聽完。以下是初聽專輯裡的每首歌的第一印象與感覺:

1. 傷害 – 乍聽之下感覺這首歌聽似美國樂團Paramore
的歌曲,尤其是他們「Brand New
Eyes」專輯的曲風,特別是裡面的 ‘Careful’ 和
‘Ignorance’ 和在「Riot」專輯裡的 ‘Misery Business’.
「傷害」給我的感覺就是很loud, 很重覆性的搖滾。

2. 小船 –
歌曲的輕快配樂很有宮崎駿動畫的感覺。而且加上用了手風琴(accordion)就很有european歐洲風味、奇幻感。歌曲讓我聯想到許哲珮「許願盒」的風格,也因為有種fantasy的質感,音樂也讓我想到
La La Land 裡用的音樂,尤其是 ‘Mia & Sebastian’s Theme’
和 ‘Engagement Party’.
我也非常喜歡這歌裡的一句歌詞「如果你真的愛上我,就請你愛真正的我」。

3. 殘缺的彩虹 –
這首應該是專輯裡最有陳綺貞風格的歌了,也可能是專輯裡最朗朗上口、最好聽的歌。這首歌同樣地用了手風琴,延續了上一首的歐洲風味以及夢幻、奇幻感。初聽會覺得是快樂的歌,但其實歌詞內隱含了悲傷感。

4. 台北某個地方 –
這首歌也是同樣的很有陳綺貞的風格,與上一首不同的是「殘缺的彩虹」比較輕快、然而接著它的這首是顯然的慢歌,不過聽得出是這兩首歌都是同出一徹,陳綺貞獨特的indie
pop獨立流行樂。這首歌也沒像上一首把悲傷隱藏在輕快的表面下,而是直接把悲傷搬上檯面,呈現出來。歌曲中不斷地重覆著「有人在嗎?」,這不斷地重覆就好像是回音echo,而提問者的自問自答加上這回音更凸顯了歌者的寂寞loneliness。

「有人在嗎?」我一個人唱著

「有人在嗎?」我自問也自答

「有人在嗎?」心裡的某個地方 再也聽不見你的回答

聽到歌曲的末端幾句,我發現已有淚水在眼角搖搖欲墜。歌詞真的沒多餘的修飾,直擊心坎處。

5. 沙發海 –
曲風輕快,很有慵懶爵士風格,像一陣微風吹過,輕飄飄的感覺。Breezy,
jazzy, light and airy.
聽著聽著就像自己也隨著音樂飄了起來。相對起上一首歌更有獨立音樂的質感。

6. 跳舞吧 –
隨著這首歌開始,音樂的節奏與步伐又再一次換了。這首快節奏的歌充滿了很多瞎扯的歌詞,不過歌詞的大意是別浪費人生猶豫,該盡情享受當下。其實這首歌的歌名和歌詞都讓我想到了徐佳瑩的「現在不跳舞要幹嘛」,歌詞所表達的大致上是相同的,歌曲melody也類似。「跳舞吧」也讓我聯想到陳綺貞自己在上一張專輯寫的「Peace
and
Revolution」。這首歌也同時注入了techno音樂,更有電子舞曲的感覺。

7. 她說 –
歌曲取名與林俊傑紅透半邊天的同名曲一樣。這是很大膽的行為,因為這麽做將必定招惹拿兩首歌來比較。陳綺貞的「她說」是個只有鋼琴伴奏的簡單抒情曲,大大緩慢了專輯從上一首歌的步伐。

8. 華生 – 歌曲的英文名挺有趣的,叫做 ‘Bromance’.
又回到了吉他伴奏,加上一些打擊樂還有只有陳綺貞能寫得出的歌詞。歌詞裡的「你要去哪裡,我都跟著你,全世界最棒的朋友是你」向友誼致敬,高喊友誼萬歲。手風琴也再次出現,顯然負責貫穿整個專輯的風格。

9. 變色龍 –
開場就立刻給聽者一個怪怪的感覺,旋律半句中轉換,呈現了一個迷幻feel的感覺,再加上神秘奇怪的歌詞,再配上電吉他,還有歌曲中段的音樂效果,加強了聽歌的感受,似加了一層又另一層不同的感覺,與歌詞符合,就像個變色龍。歌曲也詭異地結束,增加神秘感。

10. 觀察者 –
陳綺貞又突然把我們從詭異的感覺帶回到只以吉他簡樸的伴奏,民謠風。這與上一首歌形成了強烈的對比,歌曲風格上的出入特別明顯。這首的歌詞尤其像是綺貞寫關於自己,聽似像自白試的自傳,以獨白的方式寫了自己的人生經歷:

你走著 我寫著
握著筆 哼著歌
不奢求 用搖晃
能喚醒 世界
用衝撞 無法讓天真永遠
就算傷口 不能癒合

最後一句真叫人深思,倘若傷口不能癒合,真的沒關係嗎?

11. 神魂顛倒 –
來到了專輯裡的最後一首歌。這首曲風也像上一首,只有簡單的吉他配樂,帶著folksy民謠風。開場的幾句音符聽起來像「旅行的意義」開頭幾句,可能沿用了相似的和弦。

愛一個人 為他放棄治療
讓自己想逃也逃不了

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這句歌詞也與上一首表達同樣「不癒」的意思,兩首歌歌詞互相呼應。

總結以上所述,這是一張很短的專輯,全碟才41分鐘,在一個車程內便能聽完,卻包含了那麼多不同的主題。聽完了便會感覺自己經歷了很多,因為透過歌詞,我們觀察到了許多事情。

#陳綺貞 #沙發海 #樂評 #陈绮贞 #沙发海 #乐评 #專輯
#专辑 #MusicReview #AlbumReview #music #review #album
May 28, 2019
tanboonwah
album
, AlbumReview
, 陈绮贞
,
陳綺貞
,
music , Music Review
, MusicReview
, review
, 專輯
, 樂評
, 沙發海
,
沙发海
,
专辑 ,
乐评
Leave a comment



TAYLOR SWIFT – 1989


In retrospect to my earlier review (below), 1989 represents Taylor
Swift’s complete departure from the country genre (which could still
be found on Red) and moves her sonically in an astute new pop
direction, and subsequently following that up with Reputation. Both
1989 and Reputation are good pop albums and demonstrates her growth
both as an artiste and a songwriter from her country roots early days
and the evolution of her music and mastery of her craft. Had she
remained in the stage of her Fearless days and not changed, she might
have gone the way of Colbie Caillat, Sara Bareilles and Jason Mraz;
not exactly irrelevant but also not as relevant to the pop world at
large today. With the imminent release of her seventh studio album,
it’s safe to say that Taylor Swift kept up with the times and is
still dictating the direction of the pop world.
——————————————————————————————

Ok so I finally took the time to listen to Taylor Swift’s 1989
album. I like listening to a new album because it allows me to
experience a kind of thrill that you only get when you hear an album
for the first time since you don’t know what to expect or know what
direction a song will go. Anyway I’ll post down the notes I wrote on
my phone as I went through each track. I’ll emphasise that I only
listened to each song once and thus it’ll be hard to give a fairer
assessment of the songs until I listened to the album a couple more
times.

1. “Welcome to New York” – I thought this was an interesting
track, a refreshing sound/start.

2. “Blank Space” – When the track started, I thought it wasn’t
impressive, pretty bland but as the song got on, the song caught me by
surprise that it became better.

3. “Style” – Wow I am pleasantly surprised by the 80s pop feel
of this track. It really evoked sounds from that era.

4. “Out of the Woods” – Same as Track 3 but the chorus has more
hook. And the beats brought on a very nostalgic feel. I thought to
myself Taylor Swift must have listened to lots of songs from the 80s
era to emulate such an accurate sound of the 80s.

5. “All You Had to Do Was Stay” – Very very catchy hook.

6. “Shake It Off” – This was definitely right to be chosen as
the first single. Obviously very catchy and sing-along song.

7. “I Wish You Would” – Continues the feel of track 6. Pretty
catchy too.

8. “Bad Blood” – Interesting beat.

9. “Wildest Dreams” – I felt there’s traces of Lana Del Rey
both in terms of the rhythm+beat and the haunting vocals part in the
chorus.

10. “How You Get the Girl” – Upbeat but forgettable.

11. “This Love” – This was an interesting break from the uptempo
songs.

12. “I Know Places” – This starts out prety interesting. It’s
a bit indie-like, in a different genre than the others.

13. “Clean” – More genre switch-up, making the album more
diverse. More matured lyrics, makes for a good showcase of her
songwriting ability.

14. “Wonderland” – Ok why is this not on the standard issue of
the album? I thought this is a really good song and if I had to pick
my favourite song just based from only 1 listen-through of the album,
I would pick this. The lyrics were good, there was very good use of
metaphor. It shows how Taylor’s writing skills have been sharpened
over the albums.

15. “You Are In Love” – This reminds me of State of Grace from
the previous album.

16. “New Romantics” – I have to say this was an interesting song
title. I felt the lyrical content were very post-modern. And this
reminds me of songs from Lana Del Rey’s Born To Die album (the
less-dark songs).
May 28, 2019
tanboonwah
1989
, music
, Music Review
, MusicReview
, review
, Taylor Swift
Leave a comment



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